Wan Hao, also
known as Lung Hui and his other names are: Chiu Han and Guen Re Tze. He was born
in March 1912 inDu Chan, Jiangxi. A member of the Chinese Artist
Association, he was the Vice Chairman, Consultant of Jiangxi Provincial Branch
of the Chinese Artist Association. He was the first Jiangxi Oil Painting
Academy, and was member of the Third, Fourth and Fifth Political Council.
Graduated from the NationalArtCollege in 1939 and became a professor at GuilinArtCollege in 1942. Over the years, he was
professor at Suzhou Art College, Jiangxi Provincial Pottery College,
NanchangUniversity, HuaZhongNormalAcademy, Wu Han Art Normal Academy, Hubei Art Academy,
Jiangxi Cultural and ArtAcademy and Jin Teh Zheng Pottery and ChinaAcademy. He retired in 1987 and his
representative works include “The Ending Days of the Japanese Thieves”, “The
Sceneries of the Three Gorges”, “The Villages of Suzhou, Jiangsu” and “Woman’s
Body”.

1912He was born in
the Wan Family Village of Fen Shan in Du Chan County, Jiangxi Province, looking
across the ancient homes of Tao Yuan Ming in Fen Shan. Du Chan is a typical
water town in south of Jiangsu with two-thirds of areas of Po Yang
Lake, the breeding place of Wan Hao’s childhood. His great great grandfather,
Wan Chan Fu was owner of one of the big potters during the Tao Guan years of the
Chin Dynasty. People call them the “Three Great Buddha’s” referring to the
family wealth in the region. Great grandfather was a “Chin Hsi” through an
official examination and taught at the Lu Shan Bai Lu Dong Academy. His
grandfather was a china merchant.

1925Studying in the
private school at the Su Shan Chao Yang Temple, he began to recite poetry and
paint pictures under the guidance of his father Wan Lai Ming. When he was seven,
he was able to write poems of five characters and use brush pen to copy
calligraphy. By age 10, he knew rhymes and when he was 13, his talents in poetry
bloomed, writing such famous poems: “The streams and bridge surrounds my home,
at the end of autumn counting flowers in the sand, maple leaves blown by the
wind, and searching for poetry not aware that the sun is setting.” His father
saw the child

insisting on
making a living through painting and agreed, but encouraged him saying: “When
you have time paint something for sale, without dealing with crime money in the
world.”

1927Entered the
High School of
Wu Chan Art Academy and
learned water color, sketches, while the family lived in Wu Han. Father was the
First Year graduate of PaoDingMilitaryOfficersSchool and worked as staff officer for the
Seventh Army of the Northern Combat Troops. He was actively involved in the 1911
Double Tenth Revolution, following Huang Hsin in key battles. He served under
Lee Chung Ren as a commander and was a patriotic general.

1935He graduated
from the High School’s Department of Art of SuzhouArtCollege. His school mates
included Zhen Chi Hua, Yang Tsu Su, Fei Yi Fu, and Dong Yu Wan, etc. and his
performance was the most outstanding. Sun Wan Lin praised his work as the “Exact
Copy” of the originals. Yan Wan Liang also said in front of the whole school:
“Beside you is a good learning model, his future is unlimited, and his name is
Wan Hao”.

1939On January 26,
his oil paintings “The Ending Days of the Royal (Japanese) Army”, “No Home to
Return”, and “After the Rape Killing” participated in the Painting Exhibition
for Fighting the Enemy and received strong actions. “Quizhou Morning Paper
reported: “… first seen is “The Ending Days of the Royal (Japanese) Army” which
is a wide and long oil painting on canvas, showing a group of farmers with axes
and farm tools high over their head, the so called royal army was on the ground
long ago. This makes our decision very firm to fight against the Japanese. And
“No Home to Return” shows us who is the enemy clearly. In order to live and
work, we must drive the enemy out of our national borders. To fight is our only
way out. Turn around, we see our naked follow countrywomen whom were raped and
violated by the enemies. Seeing “After the Rape Killing” one couldn’t believe
that the Japanese are human beings anymore.

1940Working together
with Chien Jai Chun, Fan Jin Shian, Jin Yu Chang, Yang Tzu Su, a short cartoon
movie was produced “The Happy Farmer” by Li Chih Company of Chongqing. “The
Happy Farmer” was a story describing the occupation of the rich land by the
Japanese. While the men were in the front fighting, the grandfather, daughter
and grandchildren all used very skillful methods to defeat the Japanese. When
the movie was shown it was during a tough period time, so it attracted a great
audience. Praises came from Shanghai and even
south China and was very useful in
promoting patriotic activities. The painters tried to follow up with two other
films but stopped due to problems of equipment.

He married Sha
Yeh from Shao Hsin, Zhejiang, who he met and fell in love when studying at
NationalArtCollege. The oldest son Wan Shen Pao was
born in Yu Hsi, Yunnan.

1941He was employed
by GuilinArtCollege
as professor for western painting senior class and researcher of GuangxiProvincialArt
Museum.

On September 9,
GuangxiProvincialArt
Museum held the opening of “The Guangxi Provincial Art Works
Exhibition” at the SungPaoHigh School. The Exhibition
was displayed in 9 rooms and over 10,000 people showed up to view. The oil
painting exhibited by Wan Hao included “Portrait of Sister” and “Smoked Dried
Bean Curd”.

On March 28, the
art community of Guilin for fundraising for a foundation of art workers held a
special art exhibition, showing over 200 pieces of works of Chinese painting,
oil painting, calligraphy, and wood carvings by Hsu Bei Hong, Guan
ShanYuh, Yang Tai Yang, Wan Hao, Lin Su Yuan, and Lee Hua..
Others like Yeh Chien Tze, and Zhang An Chih also provided works to
sponsor.

On August 22,
Wan Hao, along with Lung Yu Lu, Guan Shan Yu, Yang Tai Yang and Lee Sao Hsih
started to plan to open GuilinArtCollege and the school will
have three departments: Art Education, Western Painting, Chinese Painting. The
school will recruit over 100 students and Wan Hao will be a professor and
Director of Teaching, according to Da Gong Newspaper.

On January 2,
went to Mei Li Sichuan Restaurant to attend the New Year meeting of the
Guilin art
community, Yin Sao Shih, Shen Tun Hun, Zhen Hai Yin were there among over 30
people. Those present used self-portrait instead of signing in. At the meeting,
Wan Hao spoke about the building of an art work room.

Wan Hao often
paint scenery live in remote areas. Upon returning once, his first son Wan Shen
Pao had a vicious disease. During a time lacking medication, the child
unfortunately died at the age of two only.

1943Lee Chih Shen,
at the time was KMT’s Military Committee member, had invited many famous
painters to draw his portraits. However, the one hanging in his house was
painted by Wan Hao. He told Wan Hao that the one he painted had the “feeling”
and he loved it.

He supported
good friend Yang Tai Yang in starting “TsuYangArtAcademy” and worked as the professor for
western painting.

1944January 3
attended the Exhibition of Teachers and Students of “TsuYangArtAcademy” and “Calligraphy
and Paintings of Accomplished Artists”. Lee Chi Shen, Liu Ya Tse, Tien Han and
Lin Hu also donated their calligraphy and paintings for sale as fund raising for
TsuYangArtAcademy”. The works of Wan
Hao, Yang Tai Yang and students received warm receptions. Progressive cultural
people wrote favorable commentaries.

In June, second
son Wan Li Fen was born, the name was after the Li River in Guilin for the beautiful
scenery.

Li Chi Shen and
Liu Ya Tse, along with others established “Guilin Cultural Community
Anti-Japanese Association. On the 16, the Guilin Cultural Community expanded
their movement to promote “Art Day”. In order to expose the Japanese criminal
activities, Wan Hao created over 40 paintings for propaganda. Among these,
“Throwing the Knife” and “Borrowing for One Night” were strongly received during
the art against the Japanese parade. After the fall of Guilin, on August 5, Da
Kung

Newspaper
published “Drifting Art Workers” by Ming Chih, a report about the situations of
art workers in Guilin. Wan Hao and family, under the
arrangement of his student Yang Chin, escaped to Loh Ya Village in LiuZhenCounty. All oil paintings of human bodies,
stills and sceneries over 100 pieces were all lost during the escape.

1945Nan Hua Art
College was founded in Liu Zhou, and Wan Hao was President. Wang Tsan Bin,
Commander of Northern Guilin Division, was Board Director and Lin Hun Chih was
Director of Teaching. Professors included Yang Chiu and Yang Tai
Yang.

1947Victory of the
Anti-Japanese way, the ArtCollege was restored in Suzhou. But, teachers were
tightly lacking and many things need to be done. At the invitation of dear
teacher Yan Wan Liang, Wan Hao resigned the presidency of NanHuaArtCollege to become Professor of Western Painting at the
SuzhouArtCollege, taking over the Oil Painting
Class of Huang Chieu Shih. The school publication “Art Waves” published
“Graduation Memorial of 1946 – 47” in which Wan Hao’s experience was introduced with
large illustrations. During the teaching period, his paintings were done live in
Suzhou, and he
liked to paint the water towns, lanes and alleys, morning and setting
sun.

1948Started to build
Bai Lu Dong Painting Academy in Lu Shan, Jiangxi and ready to recruit and teach
students and answering lifelong wishes. However, due to situations, it did not
work out.

Later, he taught
at the ProvincialPotteryCollege. Aside from teaching, he did live
paintings in the fields and painted portraits for the village’s elders. Oldest
daughter Wan Han Fen was born.

1949April 29, the
49th Division of the 17th of People’s Liberation Army of
the 2nd Battle Forces marched and entered JinTehTown which was liberated. Some people were
panicked and wanted to escape. Wan Hao was very calm: “Why should I run? We are
all Chinese”Jin Teh
Town Pottery and ChinaCollege went under reformation. He was the
Vice Director of School Reform Committee and Professor/Director of Department of
Art. He was assigned to perform propaganda missions and painted comics and
sketches over 300 pieces.

1950
Using oil
painting techniques, created the series of china prints of Marx, Engels, Lenin,
Stalin and Mao.

On July 12,
Master of Chinese painting Pan Tien Shou, in a long calligraphic letter of over
600 characters to Wan Hao, discussed the issues of teachers for china arts. He
also highly praised Mr. Wan Hao’s poems, acknowledged that his merits were many.
Mr. Hsu Lung Shen also wrote and pointed out that after Chin Dynastic few can
write poetry in rhymes and for a painter, it is even rarer. Wan Hao can paint
and write poetry with learning from both East and West, life itself alone is
sufficient. Second daughter Wan Tih Fen was born.

1952Jin Teh Town
Pottery College was combined into NanChanUniversity. Wan Hao was
professor of Department of Art.

During the land
reformation period, accepted mission to paint propaganda, he painted over 500
pieces at a daily speed of more than 10 paintings with overtime.

In October,
schools and departments were all re-adjusted, Wan Hao, along with Zheng Chan
Chong, Sun Shih Jin, Yang Yan Tzu, etc. were considered the best professors to
be transferred to Hua Zhong Senior Normal School as a result of merging of Hubei
Education College and Hua Zhong University. The Provincial Governor Shao Shih
Ping hosted a farewell dinner at the Jiangxi Hotel (now August 1 Uprising
Memorial) and everyone was touched upon his leaving. In Wu Han, Wan Hao got up
early each morning and worked on large volumes in teaching models of stills,
sceneries and portraits.

1953Third son Wan
Hsiao Lan was born.

1956Famous Soviet
painter A. Mylnikov and others came to Wu Han to host an oil painting class.
During this time, Wan Hao and Yang Li Guang accompanied them to pain live at Lu
Shan and YellowMountain. Wan Hao’s speed
oil painting of Lu Shan made the Russians open their eyes. They were impressed
at Wan Hao’s aristocratic quality, graceful tunes and skillful treatment of
light and color. They admired and instead of looking down in the past.
Eventually, that piece of work was requested to be brought back to keep and
study.

August, Wan Hao
returned to Nan Chang and re-united with old colleague and good friend Yu Shai
and family, while painted an oil painting portrait for Mrs. Yu.

Fourth son Wan
Hsiao Han was born.

1958In October, Wu Han Art Normal
College and ZhongNanMusicCollege were combined into HubeiArtCollege. The Department of Art recruited
5-year specialized studies. Wan Hao, Yang Li Guang, Liu Yi Wan were employed as
oil painting dedicated professors and they were forceful in leading the students
early in the morning to late at night to paint live around the school. The
students love them. The works included “Morning in Spring”, “EastLake”
and “Yangtze RiverBridge”.

1960Because of
long-term unaccustomed to the local water and land, Wan Hao hopes to work in his
hometown. So, he wrote to Lei Cheng, then Deputy President of JiangxiCulturalArtCollege. However, because
of keeping talents, Wu Han authority refused to let go. Afterward, working
behind the scenes by Jiangxi authority, he was
transferred to work as Art Professor at JiangxiCulturalArtCollege.

Wan Hao along
with good friends Guan Shan Yue and Yu Sai and others travelled to Rei Jin, Hsin
Guo and Jin Gang Shan to paint live and created a good volume of excellent
works. Wan Hao has the habit of practicing Taichi and when doing Taichi and
viewing his work “Jin Gang Shan”, he said to his son Wan Li Feng that his oil
painting “Jin Gang Shan” has “fresh air”.

1961

November 19, he
went with Lei Zheng, Wang Shui Tien and Peng Zhong Zhi to paint live at Gui
Feng. After returning to Nan Chong, Live Painting at Gui Feng was held with
teachers and students. On November 29, the work “Looking at Lover Summit” was
carried in the Jiangxi Daily News.

A representative
oil painting “Self Portrait” was finished which during the Cultural Revolution
was lost as it was considered to be “poisonous grass of Capitalism”. According
to recollection of Hsieh Tien Shih in the recorded interview on June 9, 2008 by
Yan Chih Chian: “That painting was very exciting, no less than Western Europe’s Classicalism Master Ingres’ standards.
Besides, he was quite unique in the treatment of impressionism, the touch of
brushes and the feelings of water..” In the history of our nation’s oil
painting, to deliver paintings in such a level was quite difficult. At least I
have not seen anything as good as this painting since my graduation from
SuzhouArtCollege. Wan Hao’s sketches are wonderful
and so as his accuracy of formation of characters.

1962In April, Provincial Governor
Shao Shih Ping invited Wan Hao to paint Mu Dan flowers during the season. Upon
return, he created oil painting “Mu Dan” and he also wrote a poem in calligraphy
and gave it to the governor as a gift. The poem said: “The flowers are smiling
and clearly standing. Ashamed that I do not have the talent to paint and I may
be wrong in depicting the beauty. The flowers reflect through the windows, when
all is gone the spring light lingers, along with west winds blow.”

1964Elected to be
Member of Jiangxi Provincial the Third Political Consuls

“Exhibition of
Art Works of Wan Hao and Lei Chen” was held at the JiangxiProvincialArtSchool, showing over 40 pieces of Wan
Hao’s oil painting of sceneries and Lei Chen’s water and brush paintings of
drama characters. Hsieh Tien Shi wrote in the school publication “The Seedling
Garden”, and analyzed in depth about Wan Hao’s oil painting skills, giving high
praises.

1965Wu Guan Zhong
came to Nan Chan, accompanied by Yu Sai to visit senior school mate Wan Hao who
was 7 years older and they were two school years apart.

1968September 1,
during the Cultural Revolution, Wan Hao, because of his having human body
painted live in teaching art, was accused the crime of being a “Reactive
Academic Authority”, and had to be jailed in the first team of provincial
committee members in a newly built county farm for reformation. “About 50 – 60
people crowded in a large room. The deputy provincial governors, people in the
provincial literary and art community, senior knowledge elements, all older
people beyond age 60, climbing up and down over the double decks beds, it was
painful. The jailers saw Mr. Wan Hao as an honest old man and so they made him
section chief of training.” During the Cultural Revolution, several hundreds oil
paintings and sketches were all searched and collected, as well as millions of
words of instruction materials all burned and thrown away.

1971In July, Wan Hao was released
from the training camp. He stayed home for a long time due to bad moods.
Sometimes Wan Hao met his students on the road, he just laughed and said, “I was
in this struggle because of who was above” and “I was released also because of
who was above, I don’t blame you people.” The student was moved to tears and
told people how generous Professor Wan was.

1975Writing poetry
to relieve his mind: “I was crazy between the sky and earth, the wind blows my
old shirts. Do not ignore painting my flowers even though no one was asking
anymore.”

He created a
self-portrait “What Are You Painting?” In the picture, the color board has no
paint on it, meaning black and white were reversed, and there is nothing to
paint. This was the only oil painting Wan Hao painted since the Cultural
Revolution to now.

1978Mrs. Shao Shih
Ping, under the accompaniment of Wu Chih, brought gifts to JinTehTown, requested Wan Hao to paint another
Mu Dan Flower which her husband loved when he was alive (died in March 1965).
But at this time, destroyed by the Cultural Revolution, all the ideas of Wan Hao
died too and was no longer interested in painting. So, he nicely turned down the
request.

He was elected
the Fourth Jiangxi Provincial Political Consul Member. He painted the south
station hall for the railway Nan Chong Station the giant oil painting “I am not
worried when you are doing things.”

1980June 6, the
Jiangxi Branch of Chinese Art Association called for the Third Members Meeting
and Wan Hao was elected as the Vice Chairman.

July The Jiangxi
Oil Painting Association was established. Wan Hao was elected as

1983He was elected
the Fifth Jiangxi Provincial Political Consul Member.

In January, he
continuously created a number of larger oil painting sceneries 75cm x 55cm, including “Pan Lake Warm Spring” and “Sceneries
of the Three Gorges”

January 17, for
three days the Jiangxi Branch of Chinese Art Association called for the Second
Sub-meeting of Third Members Meeting and Vice Chairman Wan Hao was present.

1984January 11, the
Provincial Art Work Conference was called in Nan Chang and the meeting was for 3
days. Vice Chairman Wan Hao was present. During the meeting, Deputy Chief of
Cultural Department Lee Chien suggested that “Jiangxi Pictorial” to do a special
report for Wan Hao on the topic of oil painting. Wan Hao expressed that more
promotion opportunities should be given to younger painters.

In participating
the second meetings of the Fifth Jiangxi Provincial Political Consul, the
poisonous leftover of the Cultural Revolution was gone forever. Reformation and
opening were blooming bright. The old man’s mood was stirred up in the poetic
form: “A prosperous
meeting with joy overflowing, and the emotions and feeling unlimited in the
western mountains. The farms are prosperous and the business cities growing.
Everyone praise that the Party is brilliant.” And “The year is like water
flowing and never returns, the painter is getting old and is ashamed for doing
nothing. Tomorrow the eastern wind will be borrowed and river and mountain all
in the picture.”

1986On February 24,
the Annual Meetings of the Jiangxi Oil Painting Academic Association were held
at the conference room of the Provincial Art Association. The leaders were
re-elected and Wan Hao was now consultant to the Association.

1987After retirement
from Jin Teh Town Pottery and ChinaAcademy, he focused on poetry and writing
untiringly. His work included human bodies, the Three Gorges, water villages,
stills, as well as PanLake and over 200 sceneries oil paintings.

1995Over 100 pieces
of oil painting works were bought in two occasions and collected by Mr. Hsu Lung
Shen of Shanghai Dong Hai Tang Gallery.

January 26 to
February 17, “Wan Hao Painting Exhibition - China’s Second Generation Advanced
Painters” will be held at Dun Huang Art Center, TaipeiIn an article appeared in Taiwan’s magazine “The
Classics” titled “Wan Hao Hidden in the Paintings”, it is said “The sceneries of
Wan Hao often in the spreading colors express fully with the small brush pen
touches reflected in air and uncatchable feelings of water in flickers,
especially in the scenery works of the Gorges. The methodology works well.” “Wan
Hao has three habits: painting, poetry and tea.”

April 28, Oil
painting “The Small Road under the Moon” (32cm x 40.5cm); “Water Village Zhou Chuang” (38cm x 45.1cm); “Grapes” (38cm x 45cm) participated the spring art works auction of Hong
Kong Christie’s and sold respectively at RMB26,818, RMB29,256 and RMB34,132,
approximately 25,000/sq.m with commission. Another painting “Apples”
(38cm x 45cm) was sold at RMB20,700 in Hong Kong Christie’s
at a time not known exactly.

On July 12, Hsu
Lung Shen in a letter to an old painter in Hubei province, “Wan Hao is a very talented
artist but the conditions are not ideal during old age which is a pity.” Mr. Hsu
also told several teachers of HubeiArtCollege about Wan Hao’s
neo-impressionism works, “You can say that there is none that surpass Mr. Wan’s
level nowadays. The way he uses color in his oil paintings makes me worship
them. It’s just too great!”

1997In the magazine “Research on
Art” the First Issue carried Mr. Hsu Lung Shen’s article: “Liberation from the
Destruction of Illusions – The Second Change of Wan Hao’s View on Life”. The
article pointed out: “In the oil painting works of Wan Hao’s old age, aside from
the above basic characteristics, they collectively expressed the infiltration of
poetry and state of mind. Viewing Wan Hao’s paintings is like singing Na Lane
Hsin Teh’s poetry – quiet yet far away but not losing the feeling of purity.
East time you read, there is a deeper layer of understanding. Each you take off
a layer of mystics, you see an element of easiness of life, an expanded
emptiness of mystics reaching your limbs and bones. Such feelings are not there
to experience in the western oil paintings. This is exactly where Wan Hao
differs from French Impressionism masters who seek light.”

1998Regardless of
old age and weak health, by returning to visit hometown Du Chong, he felt happy
for the prosperity and growth there. After retirement, he had many times
requested to settle down in the WanFamilyVillage. The beautiful
hometown in his dreams was the ideal place for his rest. “The oil paintings and
poetry of Wan Hao is like his body, soul that could not be separated from the
fields of his hometown,

2001As an article
carried in the Second Issue of “Grand View of Literature and History” by Mr. Wan
Shen Hsin, “Wan Hao and the Neo-Impression Oil Paintings He Created”, it
indicated that Professor Wan Hao does research on nature, focused the total
effect of the natural lighting, colors and forms. With stress on the work from
the people, its reality, construction, integrity and also stress on quality,
space and air flows, not twisting or deform the true spirit of purity. It is
with an even heart and mind and basic tunes of cold and warm colors to express
truth, goodness and beauty of the items so that the picture shows flickering
effects and gracious and easy Eastern

Mood.” The April
“HeartBridge” magazine carried
that article.

When accepting
Wan Shen Hsin’s interview, Wan Hao showed his self-confidence in the world:
“When Van Gough was alive, he only sold one painting for only four pounds. As to
my paintings, when people begin to understand, it will be
outrageous!”

On April 7 and
9, the Jiangxi Television showed a special “Wan Hao and the Neo-Impressionism”
in the program “Jiangxi, China”. The film
introduced to the audience
passionately what oil painting works Professor Wan Hao established as the
Neo-Impressionism. It was Professor Wan Hao who opened the brand new world with
Chinese characteristics the oil paintings of Neo-Impressionism, going through
the stages of inheritance to development and from development to independent
beginning. “The opening creation by Professor Wan Hao is not only our country’s
wealth in our painting history and also enriches the world painting
history.”

2005In November, the son-in-law of
Wan Hao, Mr. Zhen Kuo Tao wrote the book “Seeking the Pearl in the VastSea” which was published by Chinese
Authors Press. In

the book was a
section on “People and Communications” – “Painter of Neo-Impressionism, A
Profile of Professor Wan Hao of Jin Teh Town Pottery and ChinaCollege”. It was a more detailed
introduction of Wan Hao’s art and life.

December 6, Oil
painting “Scenery of Pan Lake” (32cm x 42cm) participated in the Poly Auction Autumn large
scale auction and sold for RMB33,000 or about RMB30,000/sq m with commission
charges.

2006August 27, the
two oil paintings by Wan Hao “The Woman’s Body” and “Orange and the Cup” were
shown to collectors as “Not for Sale Items” at the 6th Jiangxi Art
Pao Tsen Auction by Famous Artists and it caught the attention of the
collectors’ community.

2007January 13, oil
painting “Leech Nut” (36
cm x 45cm) participated in the Autumn large scale art
auction of Xi Lun Yin Se and was sold at RMB46,200, with commissions adding up
to 35,000/sq m

July 2, creative
oil painting “Soul of Mountain” and at 96 years old, his brush never got aged.
On October 3, the Cultural Department of Jiangxi Province with Yan Chih Chiang
and company went to JinTehTown to visit Wan Hao. They
want to save anddiscover more of Wan Hao’s oil paintings, carrying out
protective investigations and research; “Gu Nan Cold Autumn Poetry Collection”
was finished in arrangement with Wan Hao’s poetry works nearly 200
pieces.

2008April 12
YanMo visited
JinTehTown for the second time, using filming
and recording to put down the data of Wan Hao’s art. On May 10 famous old
painter Duan Ni talking to Yan Chih Chiang excitingly about Wan Hao: “Master
Wan, he was so wonderful. In the Chinese world of art, he’s the best. When I was
studying at Hupei

Art Academy all
the schoolmates adored him. His art was unique, comparing side by side with
those academically mainstream from Wu Chong Art College who studied in
France, winning high reputations.
Master Wan should not have return to Jiangxi. He was too high up and buried his
talents, what a pity!”

June 9, famous
painter Mr. Zhen Sung Mou said upon the interview by Yan Chih Chiang, “Before
the Cultural Revolution, I visited Wan Hao at his home and saw some of his
paintings. I felt that when he researched impressionism, he was after the
spirit, not just superficial forms. His treatment of the images of objects and
handling of light and colors was much higher in spirit, much simpler and
enduring than the traditional impressionism. He was often after a state of mind
of ambiguity and fuzziness. This special style was very influential at the time
and many painters unconsciously imitated him, including famous painter Prof. Yu
Se. Regrettably, at the time the nation was under the fashionable tide of Su
style oil painting, I was not too interested in contacting Wan Hao, therefore
missing the precious opportunity of learning from him. Nowadays, great painters
like him are hard to find and arranging and classifying his works have important
meanings in studying oil painting education.”